The British film The Infidel just reached American shores this week at the Tribeca Film Festival here in New York City. The irreverent comedy is about a Muslim who learns he is adopted and his parents are in fact Jewish. What ensues is a delightful comedy of errors that delves into the murkier depths of religious and ethnic stereotypes. You can read my full review over at Heeb Magazine.

I was able to get some face time with four people connected to the film. Josh Appignanesi is the film’s director and David Baddiel wrote the script. The two offered up some deadpan wisdom on the weighty subject their film deals with. The bulk of my questions (as you’ll hear) focus on reactions to the film and whether or not it is controversial. Both Baddiel and Appignanesi are passionate about their creative choices and the power of comedy in the most uncomfortable of social conversations. They say it better, so definitely check it out.

Omid Djalili and Richard Schiff, the film’s stars, are similarly serious when it comes to discussing The Infidel. Schiff, who is most well known in the states for his role as Toby Ziegler on The West Wing, takes particular offense at having any of his roles, including that of Lenny in The Infidel, labeled as stereotypically Jewish. The two exhude a comic energy that made it difficult for me to keep a straight face while chatting them up. Especially at the end of our talk, the two go off on the provenance of a few racial epithets. It is quite hilarious.

As always, I’ve said too much. Just click play already.

 
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How can I explain what the New York Sephardic Jewish Film Festival is? It’s very name is so local and yet its scope is entirely global. I suppose I could start by explaining what is meant by “Sephardic.” Allow me to generalize. Here in New York City it is pretty common to boil Jews down to one of two stereotypes: the Orthodox and the nebbish. These are Ashkenazi Jews who, thanks to a sordid history of European emigration, took root here en masse around the turn of the 20^th century. Ashkenazim are basically the shtetl Jews; the Fiddler on the Roof Jews.

That film is perhaps the ultimate Hollywood pontification on the Jew, an image of a people that is, for better or worse, an accepted truth. Sephardic Jewry, who hail from Spain, Northern Africa and the Fertile Crescent (among other places), have almost no image in American cinema. In fact, in America, little is known of this “other” kind of Jew outside the confines of the Jewish community. Sephardim observe different dietary laws (sometimes), speak a different dialect of Hebrew, observe different customs and have a rich history of art and literature that is speckled with influence from the various cultures in which they have existed. How fitting it is then, that there should be a New York Sephardic Jewish Film Festival, to both celebrate and educate us on these Jews who perhaps don’t fit the mold of the mainstream. A festival for the other other. Read on…

Last night, the Jewish Theological Seminary (JTS, the primary higher educational institution of the Conservative Movement) hosted a screening and panel on Inglourious Basterds. ( To catch up on how the candler blog feels about the film, you can check Sunrise Tippeconnie’s essay, Once Upon a Time in Violence Occupied Cinema, which was written for the film’s theatrical release.) Though an appearance by Quentin Tarantino was promised, the auteur was a no show claiming a sore throat (he gets the benefit of the doubt from me). Luckily, the producer of the film, Lawrence Bender, one of QT’s hebraic guides on the project, was in attendance to discuss the topic of “Jewish Persecution and the Fantasy of Revenge” alongside Dr. Amy Kalmanofsky, a bible and horror film scholar, and Rabbi Jack Moline, a pulpit Rabbi in Virginia whose Kol Nidre sermon about Inglourious Basterds sparked the institution’s interest in hosting such an event. Also, leading the panel was the school’s Chancellor, Arnold M. Eisen. Phew, now you have all the details, so how was it?

This was my third public screening of the film, though the first one on video. I have to say, if you missed this movie on film, you pretty much missed it. But that’s neither here nor there. This was an academic event so I gave some leeway on projected quality, though I will say I’ve seen much worse in other college auditoriums. Unsurprisingly, watching the film in a room full of mostly Jews, mind you months after the film had been unleashed on the masses, was barely different from watching the film in a room full of gentiles. Duh. A great fry cook once said “peoples is peoples”, of course, these are the chosen people watching their greatest enemies slaughtered on screen with great flair. There must be something different. Read on…

Oscars in tow, Joel and Ethan Coen don’t seem to know the meaning of a slow period. Their latest project, A Serious Man, just like Burn After Reading before it, is a small film with big ambitions. It is a family drama; it is a memoir of the golden age of American suburban rabbinic Judaism; it is a study of the intellect’s struggle with the belief (or disbelief) in a higher power. Acerbically funny and virtuously moody, this film is yet another feather in the cap of the brothers Coen.

In a landscape littered with cinematic imposters, A Serious Man features a main character who can accurately be described as a classic “schlemiel”. Larry Gopnik, played with remarkable sincerity by Michael Stuhlbarg, is a man who never asked for anything from God in his life, but when he is faced with trial upon trial, Mr. Gopnik finds his latent bent to the point of imminent breakage. A Physics professor at the local university, Larry is an impotent, small man who gets trampled from every angle. His wife is leaving him, a student is stong-arming him into a getting a better grade, his pothead son’s Bar Mitzvah is approaching amid mounting financial pressure, and his awkward brother takes up the only remaining space in his home. Read on…